For recent treatments see Schafer, Adams and van Minnen, and Lipset.
Miller, Errand into the Wilderness; Miller, Nature's Nation;
Bercovitch, Puritan Origins of the American Self; Bercovitch,
See Dinshaw, especially Introduction, and Chapters One and Two.
The key decision in the Hopwood case was actually issued by a panel
of three judges assigned to consider the Hopwood plaintiffs' appeal
of an earlier District Court ruling in the case. The judge in the District
Court case, Sam Sparks, had found unconstitutional the specific affirmative
action mechanisms in place when Karen Hopwood et al had applied
to UT's Law School, but he had awarded no damages to the plaintiffs.
Moreover, following the Supreme Court's 1978 opinion in Bakke vs.
University of California, Judge Sparks's ruling would still have
allowed for a system that treated race as one (but never the sole deciding)
factor in admissions. The Fifth Circuit's three-judge panel went much
further, declaring that race could not play any sort of role in admissions
decisions by the Law School. (In doing so, the panel controversially--and
some argued illegallyset Bakke aside.) Although there was
room for ambiguity about whether the panel's decree against giving race
any consideration whatsoever applied to anything besides UT Law School
admissions, Texas's attorney general at the time, Dan Morales, issued
a binding interpretation that read the ruling as broadly as possible.
All of Texas's public universities, Morales said, would have to cease
any consideration of race not only in admissions but in financial aid
and hiring. Four months after the three-judge panel's decision, the
Supreme Court declined to become involved in the case. As of this writing
(February 2001), The University's most recent appeal, partly concerning
the damages and costs awarded to the Hopwood plaintiffs but also asking
for an en banc hearing on the case's constitutional issues by
the Fifth Circuit's full panel of 15 judges, has been denied.
In addition to the symposia of theater people transcribed in Elsom's
text, see the influential work by Kott to which they were responding.
A prominent recent example of pointed anachronism in the staging of
Shakespeare is Richard Loncraine's 1995 film of Richard III,
which resets the play into a fascist-dominated England of the 1930s
and also resonates with the Thatcher era. For an illuminatingly close
analysis of this movie, see Loehlin.
Grillo and Wildman. For a critique of how nineteenth- and early-twentieth
century white women used race-based slavery as, in effect, a political
metaphor for their own oppression, see Sánchez-Eppler.